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Romance in the Music of Obradors, Schubert, Gordon and Scarlatti by Kayla Gonzales B.F.A., New Mexico Highlands University

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Romance in the Music of Obradors, Schubert, Gordon and Scarlatti by Kayla Gonzales B.F.A., New Mexico Highlands University Romance in the music of Obradors, Schubert, Gordon and Scarlatti by Kayla Gonzales B.F.A., New Mexico Highlands University, 2016 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theatre, and Dance College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2018 Approved by: Major Professor Dr. Amy Rosine-Underwood Copyright © Kayla Gonzales 2018. Abstract This report is extended program notes that focus on romantic selections from four composers, prepared for a graduate vocal recital, completed in partial fulfillment of the requirement for the Master of Music degree. The recital was held April 25, 2017 at seven-thirty in the evening at Kirmser Hall on the campus of Kansas State University. The selections for this recital were chosen for their portrayal of the theme romance. The four composers selected for this report are Fernando Obradors, Franz Schubert, Ricky Ian Gordon and Alessandro Scarlatti. Each chapter will include biographical information on each composer, a textual analysis, as well as stylistic and technical considerations one must consider for the songs researched in this document. Romance is a topic that has often inspired composers and writers. This paper focuses on “romance” as a topic, which has been the focus of music for centuries. In vocal literature, a theme of romance can create an immediate connection to the listener as it is a topic that all genders can relate to. Table of Contents List of Figures ................................................................................................................................. v List of Tables ................................................................................................................................. vi Acknowledgements ....................................................................................................................... vii Dedication .................................................................................................................................... viii Preface............................................................................................................................................ ix Chapter 1 - Fernando Obradors....................................................................................................... 1 Biographical Information on the Composer ............................................................................... 1 Textural Analysis ........................................................................................................................ 4 Theoretical Analysis ................................................................................................................... 7 Stylistic and Technical Considerations ..................................................................................... 10 Chapter 2 - Franz Schubert ........................................................................................................... 12 Biographical Information on the Composer ................................................................................. 12 Textural Analysis ...................................................................................................................... 15 Theoretical Analysis ................................................................................................................. 17 Stylistic and Technical Considerations ..................................................................................... 20 Chapter 3 - Ricky Ian Gordon ....................................................................................................... 21 Biographical Information on the Composer ............................................................................. 21 Textural Analysis ...................................................................................................................... 23 Theoretical Analysis ................................................................................................................. 26 Stylistic and Technical Considerations ..................................................................................... 27 Chapter 4-Alessandro Scarlatti ..................................................................................................... 29 Biographical Information on the Composer ............................................................................. 29 Textural Analysis ...................................................................................................................... 32 Theoretical Analysis ................................................................................................................. 35 Stylistic and Technical Considerations ..................................................................................... 39 Conclusion ................................................................................................................................ 40 Bibliography ................................................................................................................................. 41 Appendix A- Graduate Recital Program ....................................................................................... 42 Appendix B – Graduate Recital Program Notes ........................................................................... 44 iv List of Figures Figure 1.1 Del cabello más sutil ..................................................................................................... 4 Figure 1.2 Al amor .......................................................................................................................... 8 Figure 1.3 Al amor .......................................................................................................................... 9 Figure 2.1 Kennst du das Land? ................................................................................................... 18 Figure 2.2 Kennst du da Land? ..................................................................................................... 19 Figure 3.1 My Mother is a Singer ................................................................................................. 26 Figure 3.2 My Mother is a Singer ................................................................................................. 28 Figure 4.1 Rompe sprezza ............................................................................................................. 35 Figure 4.2 Rompe sprezza ............................................................................................................. 36 Figure 4.3 Mio Tesoro .................................................................................................................. 38 v List of Tables Table 1.1 Canciones clásicas españolas, Volume 1 ........................................................................ 3 Table 1.2 English Translation: Del cabello mas sutil ..................................................................... 5 Table 1.3 English Translation: Al amor .......................................................................................... 6 Table 2.1 English Translation: Kennst du das Land? ................................................................... 16 Table 3.1 My Mother is a Singer .................................................................................................. 25 Table 4.1 7 Arie con tromba sola (1706) ...................................................................................... 31 Table 4.2 English Translation: Rompe sprezza ............................................................................ 32 Table 4.3 English Translation: Mio Tesoro .................................................................................. 34 vi Acknowledgements I would like to thank the members of my committee, Dr. Amy Rosine-Underwood, Dr. Patricia Thompson, and Dr. Alfred Cochran for their help and assessment of my report. I also want to thank all faculty members who have contributed to my education at Kansas State University, and I am thankful for the vast amount of knowledge they were all willing to share. In addition, I want to thank my husband and my family for their support throughout my educational journey here at Kansas State University. vii Dedication This report is dedicated to my parents, Amado and Terri Gonzales. I always felt encouraged by their presence, in my life, to try my hardest in achieving any goal that I strived for. Their hard-working mentality and great attitude set the standard in our household. Throughout my life, they have supported my love for music and I can’t thank them enough for that. To achieve a Master of Music degree means the world to me and I want them to know that I couldn’t have done it without their guidance and love. viii Preface The Masters Recital, presented on Wednesday, April 25, 2018 in Kirmser Hall on the campus of Kansas State University, contains pieces based on the theme of Romance. According the New Oxford American Dictionary, romance is defined as the following: 1. a feeling of excitement and mystery associated with love; 2. love, especially when sentimental or idealized; 3. an exciting, enjoyable love affair, especially one that is not serious or long-lasting; 4. a quality or feeling of mystery, excitement, and remoteness from everyday life. The music for this recital is based on the theme of Romance, and was inspired by the Canciones Clásicas Españolas volume one (1921) by Fernando
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